"Imbolc: A New Interpretation" by Phillip Bernhardt-House

I am republishing my review of Bernhardt-House's article in celebration of the fact that he has uploaded the paper to Academia.edu, making this hard-to-find piece easy to obtain. Thank you, Phillip! (Click here to view or download.)

 “Imbolc: A New Interpretation”, Phillip A. Bernhardt-House (pp 57-76) in Cosmos 18 (2002)

This intriguing article looks at the meaning of Imbolc from a new perspective—that of a connection with wolf and warrior cults originating with the Indo-Europeans and presenting in Roman and Celtic civilizations. Bernhardt-House has a broad knowledge of the literature and he brings together disparate pieces into a tantalizing whole. Where he himself concludes that his new etymology may be proved unsound, it nevertheless serves to “refocus our attentions on certain smaller aspects” of Imbolc, particularly the wolf aspect, which is “now beyond doubt as having been important to the holiday as it would have been observed in pre-Christian times” (pg 65-66).[1]

In approaching the subject, Bernhardt-House first looks at both Neo-Pagan and scholarly etymologies of the Irish word for the festival, Imbolc. While accepting the consensus meanings of milking and purification, he suggests an additional—and surprising—one.

If im has as its basis “butter”, olc is generally derived as “evil, bad, wrong” in Irish, both Old and Modern. But Kim McCone[2] traces this word back to the Indo-European root meaning “wolf”. Joining these two, Bernhardt-House offers “Imbolc as the 'butter-wolf'”, hoping to “shed some light on further images in Irish sources, as well as connecting this to a further complex within Indo-European ritual” (pg 60).

These images in Irish sources range from calendrical evidence linking February to wolves, the association of Candlemas in France and Belgium with the wolf (where a wolf sighting predicts the ending of winter), of Brigit herself with the bear and wolf, and so on, along with an examination of the period of time between Samhain and Imbolc and its association with warring, as well as hospitality.

Perhaps most interesting is the parallel drawn between the rites of the Lupercalia in Rome and Imbolc in Ireland, and their potential links to Gaulish deities and to earlier rituals. The link with purification in both festivals is already established; the writer points to a possible further link in purification with the use of milk or, in the Irish case, butter.

The young Roman priests, the Luperci, sacrificed a dog and a goat at the cave where Romulus and Remus were said to have been nursed by a wolf. The blood of these two animals was mixed and the youngest priest's forehead anointed with the mixture; this was then cleaned away using a piece of milk-soaked wool, which ritual was followed eventually by striking the general populace with goat-skin thongs for luck and fertility.

In a medieval story St Brigit removes the signs worn by men which signify their engagement in activities of war; Bernhardt-House suggests that if “some form of Brigid was one of the presiding deities of Imbolc, Brigit who was bear-mother in origin but could easily have been a wolf-mother in Ireland, might have been the deity who removed these warrior-signs and reincorporated the youthful fian-warriors into regular society, perhaps by the means of the purifying medium of milk, or, given the etymology I have suggested with imb-, perhaps even butter” (pg 64).

The details examined by the writer are greater in number and scope than suggested by this brief review, and it is worth tracking down the article through your local or university library.[3]

This is just the sort of thing that gets the creative mind churning along nicely. A very enjoyable article.

---

[1]     For a complete review of the wolf and werewolf in Celtic literature and an examination of that material, see Bernhardt-House, Phillip A., Werewolves, magical hounds, and dog-headed men in Celtic literature: a typological study of shape-shifting, Lewiston, NY: Edwin Mellen Press, 2010.

[2]     See my review above of his Brigit section, “Fire and the Arts” (etc) in Pagan Past and Christian Present in Early Irish Literature, Kim McCone (1990)

[3]     For a posting in the NeoPagan blogosphere see http://www.patheos.com/community/paganportal/2011/02/01/the-hidden-imbolc/. For a discussion  in a Celtic Reconstructionist forum of both the blog post and this peer-reviewed article, see http://community.livejournal.com/cr_r/351977.html In particular see the comment from  wire_mother: “I've read the original article from which PSVL derives this thesis (Bernhardt-House, Phillip A., "Imbolc: A New Interpretation", Cosmos 18 (2002), 57-76), and I buy the argument on the basis that OIr. olc very plausibly derives from PIE *wlkwo- "wolf" (which gives us English "wolf"!, and which through simple metathesis gives us *lukwo-, from which we derive e.g. English "lupine" from Latin) and also very plausibly shows semantic drift into its current meaning of "bad, evil" given the Christian experience of the youthful warrior/lycanthropic bands in Ireland; that it shows a definite relationship to Lupercalia, which seems to be a Latin reflex of the same ritual impulse; and the relationship of St. Brighid to the outlaw bands (all of which elements are discussed in that article by PSVL). For disclosure, I know both Prof. Bernhardt-House, the author of that article, and PSVL in person, and have discussed the issue with them many times, but even so, the three points I list here are more solid than even the assumption that we can derive pagan practices from e.g. folklore. That is, we have solid linguistic grounds (any linguist can easily derive that using tested rules of language change - one would have to dismiss nearly the entire field of linguistics to dismiss that point), solid comparative grounds (in the same region, even, and from a tradition which is linguistically closely related - one would have to dismiss the concept that religious ideas refer to the past in any way to dismiss that point, which would require one to dismiss the concept of any continuity of pagan religion at all), and solid hostile testimonial grounds (and the evidence for those youthful warrior-bands being also self-consciously, as well as community-consciously, considered to be "lycanthropic" is extensively documented across Europe, in the Celtic countries, and specifically in Ireland).”

Gail Arthur - Celebrancy and Storytelling

This summary is not available. Please click here to view the post.

Brigit's Cross: Repeal the 8th!

A not horribly accurate but wonderful short film urging a yes vote in this week's abortion referendum in Ireland.


Saint Brigid – Short Film #RepealThe8th from David Keeling on Vimeo.

From David Keeling.

Journey with Brigit, Goddess of Poetry: An Online Course with Mael Brigde

It's open!
After a change of hosts, registration for my course, Journey with Brigit, Goddess of Poetry, is open at last! This is an intensive course that both nourishes the writing (and reading) of poetry and connects the participant to the poet in Ireland, and poetry in our lives.
The classes come out one a day, and you are welcome to move as quickly or slowly as you like through each lesson.
I look forward to connecting with some of you in this forum.
Blessings on your pen!
Mael Brigde

Review: Picture Book - "The Story of Saint Brigid" by Clarke and Croatto

The Story of Saint Brigid by Caitriona Clarke, illustrated by Barbara Croatto, Veritas (2015), 23 pp..

This small, slender, and well produced picture book in one way resembles adult books about Saint Brigit more than most picture books: rather than telling a single, unfolding tale, it picks a number of items of information about the saint and briefly recounts them, opposite illustrations that highlight one of the items mentioned on each page. My limited experience with reading books to children suggests that this sort of thing is often of less interest than a gripping story line. Nevertheless there are times when this kind of thing is just the ticket, or is at least a pleasant way to learn a lesson—in this case, who is Saint Brigit? In this particular instance the book is aimed at Irish school children who will have heard often about her, perhaps even go to a school named for her, and so will be more inclined to be curious about the answer to that question than a child who hasn’t grown up knowing her name. Published by Veritas Publications, it comes from an unapologetically Catholic perspective.

I like the easy, conversational tone of the book, beginning with the first page, where Clarke addresses the child reading the book (or more likely having it read to them). “Have you ever heard of Saint Brigid? ... Maybe you have made a St Brigid’s Cross out of reeds? Maybe even your school is named after her!” This engages the child him- or herself, letting them know that this story is about their lives, too.

I was startled on the next page of text to learn of Saint Brigit’s mother that, “it is thought she was captured by pirates in Portugal and brought here as a slave—just like St Patrick …” I have never heard this before. I am more familiar with the suggestion that Broicseach was the daughter of Dalbrónach of the Dál Conchobair in County Meath. I am delighted to learn of another folk geneaology and would love to know where the idea started and how common the belief is in Ireland. In the fifteen hundred years since Saint Brigit’s birth there has been ample time for shifts in and additions to her stories, departures from the texts that I largely rely on for things like this.

I was also surprised to read that Brigit’s father, Dubhthach, had chosen to name his daughter after “the goddess of fire, who was thought to be gifted in poetry, healing, and craftsmanship.” Of course, there is no basis for this in any of the texts, but it is a neat way of connecting the two in the mind of the reader without supposing that they are the same person. This of course would get some backs up, but as I am of the opinion myself that they are not the same person, though they have grown together in our modern understanding, it doesn’t bother me at all, and I appreciate the nod to the goddess.

From this point on there are no surprises. We are told the familiar outline of Saint Brigit’s life, pared down drastically for the brevity of a picture book, and learn of the emphasis in her tales of generosity, compassion, and holiness. Her founding of a double monastery which was in time to produce great works like the (now lost) Book of Kildare is an addition which I favour, taking her out of the sweet holy girl category and placing her into the powerful efficient woman category—a good model for young people to be aware of.

We are told of the use of Saint Brigit’s Crosses in Irish homes for protection of people and animals against illness and their homes from fire, and of her holy wells in healing. There are some humorous elements, such as the expression of gobsmacked horror on the king’s face when Brigit’s cloak is spreading out over his land. The book concludes, “In her, Ireland can proudly lay claim to a wise and charitable woman who devoted her long life to the service of others.”

I have mixed feelings about the artwork that accompanies the text. Mostly, I like it. It is has a light touch which works well with the sparse, friendly writing. There are clean lines against colourful washes and a good sense of design, and there is, as mentioned above, a touch of humour in some of the images that appeals. What I don’t like, and this is purely a matter of taste, is how Croatta draws many of the human faces, which feel a bit awkward to me.

On balance, I like this book.

Making Your Own Brighid’s Cross with Jude Lally

Jude Lally gives step by step, image by image instructions in making a Brigit's cross at the Mystery School of the Goddess.

Songs of the Oystercatcher by Heather Upfield

I have added a new page (the first "page") to my Brigit poetry blog, Stone on the Belly: a series of poems written by Heather Upfield, honouring Brihde through the seasons.

To see and download Songs of the Oystercatcher, please click here.

"Kilbride Burn" by Heather Upfield

Heather Upfield kindly gave me permission to pass on to you her photo:

She says,

"I popped up to West Kilbride today and took a walk through Glenbryde. This is the Kilbride Burn which joins the Atlantic Ocean about a mile further downstream. St Bride arrived on these shores (probably where Kilbride Burn meets the sea) around 500AD and established chapels along the coast — at North Ayrshire."

“Saint Bridget and the King's Wolf” by Abbie Farwell Brown (1900)

“Saint Bridget and the King's Wolf”

by Abbie Farwell Brown

EVERY one has heard of Bridget, the little girl saint of Ireland. Her name is almost as well known as that of Saint Patrick, who drove all the snakes from the Island. Saint Bridget had long golden hair; and she was very beautiful. Many wonderful things happened to her that are written in famous books. But I suspect that you never heard what she did about the King's Wolf. It is a queer story.

This is how it happened. The King of Ireland had a tame wolf which some hunters had caught for him when it was a wee baby. And this wolf ran around as it pleased in the King's park near the palace, and had a very good time. But one morning he got over the high wall which surrounded the park, and strayed a long distance from home, which was a foolish thing to do. For in those days wild wolves were hated and feared by the people, whose cattle they often stole; and if a man could kill a wicked wolf he thought himself a very smart fellow indeed. Moreover, the King himself had offered a prize to any man who should bring him a dead wolf. For he wanted his kingdom to be a peaceful, happy one, where the children could play in the woods all day without fear of big eyes or big teeth.

Of course you can guess what happened to the King's wolf? A big, silly country fellow was going along with his bow and arrows, when he saw a great brown beast leap over a hedge and dash into the meadow beyond. It was only the King's wolf running away from home and feeling very frisky because it was the first time that he had done such a thing. But the country fellow did not know all that.

"Aha!" he said to himself. "I'll soon have you, my fine wolf, and the King will give me a gold piece that will buy me a hat and a new suit of clothes for the holidays." And without stopping to think about it or to look closely at the wolf, who had the King's mark upon his ear, the fellow shot his arrow straight as a string. The King's wolf gave one great leap into the air and then fell dead on the grass, poor fellow.

The countryman was much pleased. He dragged his prize straight up to the King's palace and thumped on the gate.

"Open!" he cried. "Open to the valiant hunter who has shot a wolf for the King. Open, that I may go in to receive the reward."

So, very respectfully, they bade him enter; and the Lord Chamberlain escorted him before the King himself, who sat on a great red velvet throne in the Hall. In came the fellow, dragging after him by the tail the limp body of the King's wolf.

"What have we here?" growled the King, as the Lord Chamberlain made a low bow and pointed with his staff to the stranger. The King had a bad temper and did not like to receive callers in the morning. But the silly countryman was too vain of his great deed to notice the King's disagreeable frown.

"You have here a wolf, Sire," he said proudly. "I have shot for you a wolf, and I come to claim the promised reward."

But at this unlucky moment the King started up with an angry cry. He had noticed his mark on the wolf's right ear.

"Ho! Seize the villain!" he shouted to his soldiers. "He has slain my tame wolf; he has shot my pet! Away with him to prison; and to-morrow he dies."

It was useless for the poor man to scream and cry and try to explain that it was all a mistake. The King was furious. His wolf was killed, and the murderer must die.

In those days this was the way kings punished men who displeased them in any way. There were no delays; things happened very quickly. So they dragged the poor fellow off to a dark, damp dungeon and left him there howling and tearing his hair, wishing that wolves had never been saved from the flood by Noah and his Ark.

Now not far from this place little Saint Bridget lived. When she chose the beautiful spot for her home there were no houses near, only a great oak-tree, under which she built her little hut. It had but one room and the roof was covered with grass and straw. It seemed almost like a doll's playhouse, it was so small; and Bridget herself was like a big, golden-haired wax doll,—the prettiest doll you ever saw.

She was so beautiful and so good that people wanted to live near her, where they could see her sweet face often and hear her voice. When they found where she had built her cell, men came flocking from all the country round about with their wives and children and their household goods, their cows and pigs and chickens; and camping on the green grass under the great oak-tree they said, "We will live here, too, where Saint Bridget is."

So house after house was built, and a village grew up about her little cell; and for a name it had Kildare, which in Irish means "Cell of the Oak." Soon Kildare became so fashionable that even the King must have a palace and a park there. And it was in this park that the King's wolf had been killed.

Now Bridget knew the man who had shot the wolf, and when she heard into what terrible trouble he had fallen she was very sorry, for she was a kind-hearted little girl. She knew he was a silly fellow to shoot the tame wolf; but still it was all a mistake, and she thought he ought not to be punished so severely. She wished that she could do some- [6] thing to help him, to save him if possible. But this seemed difficult, for she knew what a bad temper the King had; and she also knew how proud he had been of that wolf. who was the only tame one in all the land.

Bridget called for her coachman with her chariot and pair of white horses, and started for the King's palace, wondering what she should do to satisfy the King and make him release the man who had meant to do no harm,

But lo and behold! as the horses galloped along over the Irish bogs of peat, Saint Bridget saw a great white shape racing towards her. At first she thought it was a dog. But no: no dog was as large as that. She soon saw that it was a wolf, with big eyes and with a red tongue lolling out of his mouth. At last he overtook the frightened horses, and with a flying leap came plump into the chariot where Bridget sat, and crouched at her feet, quietly as a dog would. He was no tame wolf, but a wild one, who had never before felt a human being's hand upon him. Yet he let Bridget pat and stroke him, and say nice things into his great ear. And he kept perfectly still by her side until the chariot rumbled up to the gate of the palace.

Then Bridget held out her hand and called to him; and the great white beast followed her quietly through the gate and up the stair and down the long hall until they stood before the red-velvet throne, where the King sat looking stern and sulky.

They must have been a strange-looking pair, the little maiden in her green gown with her golden hair falling like a shower down to her knees; and the huge white wolf standing up almost as tall as she, his yellow eyes glaring fiercely about, and his red tongue panting. Bridget laid her hand gently on the beast's head which was close to her shoulder, and bowed to the King. The King only sat and stared, he was so surprised at the sight; but Bridget took that as a permission to speak.

"You have lost your tame wolf, O King," she said. "But I have brought you a better. There is no other tame wolf in all the land, now yours is dead. But look at this one! There is no white wolf to be found anywhere, and he is both tame and white. I have tamed him, my King. I, a little maiden, have tamed him so that he is gentle as you see. Look, I can pull his big ears and he will not snarl. Look, I can put my little hand into his great red mouth, and he will not bite. Sire, I give him to you. Spare me then the life of the poor, silly man who unwittingly killed your beast. Give his stupid life to me in exchange for this dear, amiable wolf," and she smiled pleadingly.

The King sat staring first at the great white beast, wonderfully pleased with the look of him, then at the beautiful maiden whose blue eyes looked so wistfully at him. And he was wonderfully pleased with the look of them, too. Then he bade her tell him the whole story, how she had come by the creature, and when, and where. Now when she had finished he first whistled in surprise, then he laughed. That was a good sign,—he was wonderfully pleased with Saint Bridget's story, also. It was so strange a thing for the King to laugh in the morning that the Chamberlain nearly fainted from surprise; and Bridget felt sure that she had won her prayer. Never had the King been seen in such a good humor. For he was a vain man, and it pleased him mightily to think of owning all for himself this huge beast, whose like was not in all the land, and whose story was so marvelous.

And when Bridget looked at him so beseechingly, he could not refuse those sweet blue eyes the request which they made, for fear of seeing them fill with tears. So, as Bridget begged, he pardoned the countryman, and gave his life to Bridget, ordering his soldiers to set him free from prison. Then when she had thanked the King very sweetly, she bade the wolf lie down beside the red velvet throne, and thenceforth be faithful and kind to his new master. And with one last pat upon his shaggy head, she left the wolf and hurried out to take away the silly countryman in her chariot, before the King should have time to change his mind.

The man was very happy and grateful. But she gave him a stern lecture on the way home, advising him not to be so hasty and so wasty next time.

"Sirrah Stupid," she said as she set him down by his cottage gate, "better not kill at all than take the lives of poor tame creatures.  I have saved your life this once, but next time you will have to suffer. Remember, it is better that two wicked wolves escape than that one kind beast be killed. We cannot afford to lose our friendly beasts, Master Stupid. We can better afford to lose a blundering fellow like you." And she drove away to her cell under the oak, leaving the silly man to think over what she had said, and to feel much ashamed.

But the King's new wolf lived happily ever after in the palace park; and Bridget came often to see him, so that he had no time to grow homesick or lonesome.

Source: The Book of Saints and Friendly Beasts by Abbie Farwell Brown (1900).  Chapter One.

Image: Illustrated by Fanny Y. Cory

Found on The Baldwin Project site. This work is in the public domain.

Stained Glass of the Founding Brigidine Sisters and Bishop Delany

Stained glass window by George Walsh depicting the six founding Brigidine Sisters with Bishop Delany in the garden at their convent in Tullow
Abbreviation	C.S.B.
Formation	c. AD 1807; 211 years ago
Founder	Daniel Delany
Type	Catholic religious order
Headquarters	Coonamble New South Wales
Website	Brigidine Sisters, Australia.

• The Brigidine Sisters: Our Beginning. Australian Brigidines.
• Solas Bhride.

•  Herbermann, Charles, ed. (1913). "Institute of the Brigidines". Catholic Encyclopedia. New York: Robert Appleton Company.

All snitched from the Wikipedia page.

Krewe of St. Brigit - Tampa, Florida

Chartered in July, 2003 the Krewe of St. Brigit was formed with community service endeavors in mind. With the collective resources of our members, we aspire to make significant contributions to our community with charities that benefit women a priority in our fundraising efforts. In 2008 we debuted our "tavern" float. The float is inspired by a local Irish tavern and the design of Mary Dietz (1959-2014), one of our founding members. Through the contributions of our "float fairies" over the past few years it is a creation of our members with many special symbols that we understand and appreciate representing our society of women.

In 2012 we joined the Krewe of Shamrock and The Highlanders to host the Tampa Bay Tartan Ball. The ball has become one of the talked about events of the pre-season and is dated around the time of the Celtic Fall Solstice.

Every year we celebrate Imbolc, traditionally held February 1st , which is regarded as the true First Day of Spring, the Celtic Season of Light. Bonfires burned in honor of Brigid the goddess, symbolizing purification after being confined to one's home during the long bleak winter. Before the YMKG Day parade we as a krewe, gather the night before the parade to celebrate our Imbolc.

Go to their page to learn more and see all the lovely photos!

Podcast Mael Brigde, Founder of the "Brigit's Sparkling Flame" Blog and "Daughters of the Flame" Flametending Group, Discusses Her Work

Ah! Last spring I had a lovely visit with Amy Panetta when she came to Vancouver for the Celtic Studies of North America annual conference. Somewhere in there she managed to do this interview of me, and now it is up on her Celtic Feminine Podcast. You can listen now or download it for later.

Play Podcast in New Window

In this podcast, Amy has a conversation with Mael Brigde, about her work and connection with Brigid.  Since 2004, Mael has maintained the longest-running, most prolific blog about Brigid entitled, "Brigit's Sparkling Flame" where she collects a variety of different resources about Brigid, such as in links, books, music, and events. She also has her poetry dedicated to Brigid on her "Stone on the Belly" blog.  She founded "Daughters of the Flame," which is the first non-church-based flame tending group dedicated to Brigid, which interestingly enough lit their first flame on Brigid's Eve, January 31st 1993, the same year that the Brigidine sisters in Kildare Ireland relit Brigid's flame.  

Currently, Mael teaches online courses dedicated to Brigid.

Links:

Brigit's Sparkling Flame Blog

Stone on the Belly Blog

Daughters of the Flame

Mael's Brigid Courses:

Journey with Brigit - Goddess of Poetry

Stepping into Brigit – Goddess Activation Course

Discovering Brigit – Goddess and Saint with Mael Brigde

Intro and Outro Music from the album, "A Year In Ireland" by New Time Ensemble, Used with Permission

To support the many hours that will go into this podcast, please consider donating.  You may send a donation by clicking HERE.  Also, be sure to send me an email at apanettamusic@yahoo.com notifying me of this donation.  Thank you!

Triple Brigid Talisman by Morpheus Ravenna

Triple Brigid Talisman: Lady of Poetry, Skill, and Fire

$35.00 – $45.00

Description

This talisman honors Brigid, Irish and Scottish Goddess of poetry, healing, smithcraft, fire, and many other bright things. She also called Brig, Brigit, Brid, and is closely related to the Gallo-Brittonic divinities Brigantia and Brigindona.

The name Brigid is thought to derive from the root *brig signifying high or exalted, and is sometimes translated Exalted One. We see this same root in place-names referring to raised hillforts. In Irish and Scottish folklore, Brigid is linked to Saint Brigid and many believe the saint to be a survival of the pre-Christian pagan Goddess. She is often spoken of as a triad, the Three Brigits. She is said to be a midwife and is called upon to bless births of children and animals, to help protect the herds and the milk supply, and for healing. Milk and milk products have a special association with healing and purification in Celtic thought, and She is connected to both. She is associated with craftsmanship, especially blacksmithing, and is seen by many as the embodiment of the fire that heats the forge. She is worshiped at holy wells throughout Ireland, where the upwelling and flowing of waters are also expressions of the deep well of wisdom and its flowing out in the form of inspiration and poetry. Thus, She is also the Lady of poets and poetic inspiration.

The front of this talisman shows Brigid in triple form, the flames of poetic inspiration rising above each of the three faces. She carries a spear and a vessel of milk, reflecting Her role in Celtic warrior culture, as the Goddess who receives the returning warrior bands from their winter raiding, purifying them with milk or butter to wash the warrior’s mark from them and bring them peacefully back into the fold of settled society. Her stance and position within the archway echoes images of Brigantia from Britain. The words here say Duine úallach / Brigit búadach: “Proud lady / Victorious Brigid”.

The back of the talisman displays a triple St. Brigid’s Cross, a folk charm traditionally woven of straw or reeds in honor of the saint and the Goddess. Between its three arms, Her implements are displayed: hammer and anvil as Lady of the Forge; cauldron and flame as Lady of Healing; and harp as Lady of Poetry. These are framed by poetic lines adapted from the Carmina Gadelica: Lasair dhealrach oir / Muime chorr dée / Bride nighinn Daghda; “Radiant flame of gold / Noble foster-mother of Gods / Bride daughter of the Dagda”. (The original lines in the Carmina Gadelica reference Christian ideas associated with St. Brigid; this has been adapted to a more Pagan form).

You may notice a resemblance between the back design of this talisman, and Ian Corrigan’s beautiful Brigid sigil. I respect Ian’s work and certainly wouldn’t copy – this turns out to be one of those divinely inspired synchronicities, as we’ve both arrived at this design independently. You can check out Ian’s books on Brigid and other creations here.

Talisman is etched in 18-gauge copper, in your choice of 1.5″ diameter medallion, or 2″ allowing for much finer detail. Comes strung on a simple natural leather cord.

Our copper talismans are hand etched in small runs with careful attention. Talismans are individually hand-detailed, so each pendant is slightly different and unique. The artist, Morpheus, personally consecrates all the talismans on her altar.

To order.

MORPHEUS RAVENNA

Tattoo Artist, Morrigan Priestess, Spiritworker, and Writer

New Short Film: Awen by Buccaneer Pictures

Awen from Buccaneer Pictures on Vimeo.
From their Vimeo page:

Awen is a short film. 

We follow the Celtic Goddess Bridgit as she spreads "inspiration" to humans. And encounters opposition from other spiritual beings. 

"Awen" is an Old Welsh word for "The Breath of Inspiration"

Webinar Available to Support Solas Bhride Center in Kildare, Ireland

The following is from Amy Panetta's website:

Last year, in 2017, so many people were so generous to support me in my crowdfunding campaign to go to Ireland to continue my research in the music that is written and performed in dedication to Brigid.  This research was later shared at The Celtic Studies of North America Conference in Vancouver, British Columbia in April of 2017 and is continually shared on The Celtic Feminine Podcast.  With the money raised from the original crowdfunding campaign, I was able to get a flight and lodging in Ireland!  In addition, it was my pleasure to be able to present a 150€ donation in person to the Solas Bhride Centre in Kildare Ireland.

This year, in honor of St. Brigid's Feast Day, I would like to have a fundraiser to donate most of the funds to the Solas Bhride Centre for the excellent work that they do in promoting St. Brigid's values of peace, justice, and compassion.  Solas Bhride Centre and Hermitages is a Spirituality Centre dedicated to St. Brigid of Kildare, Patroness of Ireland. The centre caters to the large number of pilgrims and visitors, local, national and international, interested in the traditions, values and customs associated with Brigid of Kildare.  Please visit http://www.solasbhride.ie for more information.  

I have created a webinar that I would love to send you as a gift donation.  The webinar is about 50 minutes long and is like a class I would give in person where I offer a few words to center us in the season, share my story in how I came to be inspired by Brigid, discuss the life of Brigid the Saint and Goddess, show a short video clip of the variety of music dedicated to Brigid, and teach you the song, Gabhaim Molta Bride!  

Click here to donate.  Any amount, big or small, is a big help!  Once I get the notification of your donation, I will send you the link to the webinar!

A small percentage of donations will be used to offset costs to produce The Celtic Feminine Podcast and ongoing research projects dedicated to Brigid.